Turkish glass culture and its relationship with contemporary glass and education

• Main Author: Andiç, Lâle
• Published: Heriot-Watt University 2000
• Online Access: http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.735347

The aim of this study is to discuss the connection and interaction between traditional Turkish glassmaking and contemporary glass art and education. This study, in tandem with my own work, will be put into practice. Contemporary glass art education derived from the American Studio Glass Art Movement which began in the 1960's, taking form in a university environment and going on to develop in institutions of higher education. It spread quickly throughout America and abroad. There are a number of points which should be considered, for instance, Turkish art schools have not been affected by the spread of this rapid and influential movement; there was a twenty year gap before its influence was finally seen in Turkey. On closer examination the prevailing factors seem to be cultural and economic. Neither of these factors individually provide the answer, however collectively they form a far clearer picture. At the same time, it is necessary to find where the educational direction of Turkish glass art lies in relation to historical, cultural, economical, political and aesthetic concepts. It is important to analyse these concepts in order to reveal the connections between them. This thesis is based on anthropological and geographical fieldwork, undertaken in order to create a picture of traditional and contemporary glassmaking. Information has been gathered from interviews done in U. K., Turkey, U. S. A. and data has been researched from museums, galleries, art schools, historical and archaeological references and individuals. Many points are illustrated by photographs. This thesis includes four parts. Part one is an introduction to glass, its structure and its development. Part two describes the many aspects of glassmaking in Turkey, from traditional to contemporary. Part three discusses the development of studio glass art specifically in U. S. A. Part four interprets the connection between the cultural values of Turkish glassmaking and studio glass. This concept is demonstrated in an exhibition of contemporary glasswork designed and made by the author mounted in Edinburgh College of Art in June 2000.